Make Believe Ballroom - 4/17/24 Edition

WEBVTT

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It's make believe ballroom time. Put
all your cares away. All the bands

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are here to bring good cheer your
way. It's make believe ballroom time and

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free to everyone. It's no time
to fret your Dalis said Bobby Yours.

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Close your eyes and vis you lie
in your solitude. Your favorite bands are

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on this dance and mister Miller,
but you in the wood. Its make

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believe ballroom time. They are a
sweet Roman as you make it. Come

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on, gentlemen, last dance list. Hi folks, I'm Jeff Bressler,

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turning on the lights so the make
Believe Ballroom and welcoming you into my Crystal

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studio for a very special new season
of programs that I'm calling Ralphie's Record Club

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List. I received an email here
at the ballroom a few years ago from

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Angelo, a longtime listener from Naples, Florida, by way of Canarci Brooklyn,

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whose parents Ralphie and Rose started a
record club inviting neighbors to their home

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every other Saturday night from nineteen thirty
five to the mid seventies to share pot

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luck suppers and listen and dance to
the greatest big band hits of the nineteen

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thirties and nineteen forties, Ralphie in
the Club painstakingly compiled over the decades a

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list of over seven hundred and fifty
of their favorite ranked tunes. So sit

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back and listen as I bring you
selections each week from the legendary Ralphie's Record

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Club List. Hi, folks,
and welcome, Welcome back once again to

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another edition to Make Believe Ballroom,
a program which has been broadcast in one

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form or another almost continuously since Martin
Block first took to the airwaves at WEW

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Radio New York City back in nineteen
thirty five. Have some great music and

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stories planned for you today, But
first an important announcement. I've received a

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number of emails over the last few
weeks, specifically from many of our radio

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listeners who have found their way to
the podcast and are asking when the old

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one hour formatted programs of The Ballroom
are coming back. Well. Even Angelo

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Carbone, whose late father Ralphie is
the one that spearheaded the creation of the

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Ralphie's Record Club List and inspired this
series. Even Angelo himself told me last

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week in an email that he wants
more music and stories. So since I

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produced the program specifically for you.
I want to make an adjustment that I

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think will make all of our listeners
happy. So beginning with this show,

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three selections from the Ralphie's Record Club
list, and then I will just let

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the show roll on with more music
and stories, just like I have done

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in the past. As many of
you know, I had some non life

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threatening, nagging surgeries that I had
been putting off for a couple of years,

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and I had them last year,
and that took me off the radio.

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Uh but let's consider the next few
months like spring training, as I

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ramped the show up once again and
hopefully, hopefully maybe in the fall,

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returned back to the radio side of
things as well as the podcast and to

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show that I am a man of
my word and adjusting the format. Let's

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start with this. Yeah you pull, I you have you pull the stepper?

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What do you know? Game?
Are you to know how your solid

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bringer down? Isn't it? Jack? Take it so you can learn just

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what I mean. Are you hep
to the job? Are you hep to

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the job? Are you he by
your help? By you keep minute step?

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Fine? You have to the jib? Do you lace your mood tie?

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Are you fly or you fly?
Do you dig? Do you dick?

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Do you swing on the keep?
Hi? You have to the job?

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Do you get the glue? Does
the bat make you move? Do

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you send yourself jack and then tripping
your back again? No? That is

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smooth? Or you have to the
job. You have to the job.

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Are you have by your help by
keep minute step by? You have to

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the job? You have to do
the job. Are you happy to do

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the job? Are you have by
your half, by your kid and step

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by? You have to the job? Do you, ladyship? How you

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fly? Are you help by your
help, by your kids and step by?

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You have to the job? Do
you get in the groove? Doesn't

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beat make you move? Do you
send yourself jack and then trilling it back

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again? Know that it's smooth?
Are you have happ to the job?

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How do you dig? Job?
Are you? Are you riding a step

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by after the job? That was? Cab callaway? Are you hep to

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the jive? Great number to get
things underway on this week's edition of The

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Make Believe Ballroom. Just quick note. I can be reached as always at

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Jeff at Makebelie Ballroom Radio dot com, Jeff at MakeBelieve Ballroom Radio dot com

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and now I will reach over to
the computer on my left and play a

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random selection from the Ralphie's Record Club
list. That being a list started way

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back in nineteen thirty five, when
Ralphie Carbone and his wife Rose started to

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invite neighbors into their Canarci, Brooklyn
home every other week to enjoy a potluck

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supper and listen to the top hits
of the era. Close to seven hundred

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and fifty songs were rated over the
decades by ralph and the club. As

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I mentioned, they started in thirty
five, and they went right up to

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like nineteen seventy, from what Angelo
tells me, seventy four or seventy five,

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still meeting for those who remained around
CANARSI. So let me spend the

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randomizer for today's first selection from the
Ralphies Record Club list, and we spin

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and the virtual wheel stops at number
forty two. Well we're on a roll,

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folks, that started last week where
it was the first time we broke

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the top fifty. And this one
comes in, as I said, at

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number forty two. The man sting
them that was the Glenn Miller Victor Records

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nineteen forty two recording of American Patrol
and as an aside, you know,

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it's very interesting. Many people think
that American Patrol was written as a World

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War II patriotic tune, but the
record one of Glenn Miller's most famous instrumentals

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was a Jerry Gray swing arrangement that
was based, believe it or not,

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on an eighteen eighty five March written
by Frank White Meachum American Patrol Ralphie's record

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club list number forty two. And
with that, let's go right back to

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our randomizer virtual wheel. As I
have mentioned in past programs, I use

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a random numbers program found online.
I loaded it with numbers one to seven

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fifty. I hit the button and
come up with a number. And this

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round I spin and the wheel lands
on number sixty one, a little out

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of the top fifty, but a
great song nevertheless, for your enjoyment here

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on the make believe ballroom. When
Madam Poppa's door was on the ballroom floor,

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said all the gentlemen. Obviously,
the madam has the cutest personality.

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And think of all the books about
to Barry's looks, what was it made

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of the chaster Berrie? She had
a well developed personality. What did Romeo

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see? And Julie Orpier all in
dear, aren't you? But you know

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you know? And when Salomi danced
and had the boys and trance, no

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doubt it must have been easy a
sea that she knew how to use her

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person alert. A girl can learn
to spell and take detention while an everything

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on the vossity unless she's got a
perfect personality. A girl can get somewhere

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in spite the stringy hair or even
just a bit bored of the knees if

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she can show up faultless personality.
Why a certain girl who's off of certain

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things like sable gods and wedding rings
by men who wear their spats, right,

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that's right? So don't you say
I'm smart and have the kindest hart

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a. What a wonderful sister I
be? Just tell me how you like

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money. Personality, Baby, you've
got the cut personality. That was the

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nineteen forty six Capitol Records recording of
Personality. The Burke van Houston song sung

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on the record by Johnny Mercer and
the Pied Pipers Orchestra conducted by Paul Weston.

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Dorothy Lamour initially introduced on screen this
great song in the Bob Hope Bing

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Crosby film Road to Utopia. The
Mercer recording of Personality that we just heard

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spent fifteen weeks on the National best
Sellers chart, also attaining for a while

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the number one hit in all of
the United States. That was Personality on

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the Ralphie's Record Club List, number
sixty one. Let's see here, should

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I play a third? Now?
One more Ralphie from KNARSI Record Club List.

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We'll have that coming your way in
just a little while. First,

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I want to tell you that you're
listening to the Make Believe Ballroom. This

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is Jeff Bresler, and I could
be reached at Jeff at MakeBelieve Ballroom Radio

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00:17:26.039 --> 00:17:33.160
dot com. That's Jeff at MakeBelieve
Ballroom Radio dot com and friends. I

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am honored and humbled at all the
emails I've received, especially for many of

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our radio listeners who found their way
to the podcast side. So keep those

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emails coming for comments, questions,
or simply for requests. Jeff at MakeBelieve

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Ballroom Radio dot com, Jeff at
MakeBelieve Ballroom Radio dot com. And right

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here now on the Make Believe ball
Room, it's time to listen to a

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great remastered tune from our friends at
past Perfect. Lord, ain't it cool?

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But I'm not going to Homer because
I still got a tolerant. When

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I get look, whoa, I
get high? My man walked out.

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Now you know that ain't right.
Well, he better watch out if I

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meet him tonight. I said,
when I get loop, who I get

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high? All this hard luck in
this town that's abound me. Nobody knows

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how trouble the round and round me? Whoa, I'm all alone with no

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one to pet me. What old
rocking chair right, never gonna get me?

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Because when I get loop, wha, I get high with good?

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That was when I get high,
I get low. The Chick Web Orchestra

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with the legendary Elephitzgerald, originally recorded
in April of nineteen thirty six and now

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perfectly remastered for you by how Are
Friends That Passed Perfect in Great Britain from

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their album The Great American Big Bands
a few years back. You may recall

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it if you listen to us on
the radio. The Nice Folks That Past

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00:21:03.240 --> 00:21:11.240
Perfect allowed us here in the Crystal
Studio to use many of their digitally remastered

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songs to play on the Make Believe
Ballroom. Whether you remember these great tunes

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that I play from your youth,
either you listen to them in the first

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person, or perhaps started picking them
up when your parents play them, or

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on the radio on programs like the
Make Believe Ballroom, or if you're discovering

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this music for the first time.
You won't find a better sound or product

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on the market. Past Perfect's unique
albums make a great vintage present or a

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00:21:41.839 --> 00:21:47.759
treasured addition to your own vintage music
library. Go to past Perfect and view

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00:21:47.839 --> 00:21:55.359
their collection of nineteen crystal clear perfectly
remastered albums. That's past perfect dot com.

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00:21:55.400 --> 00:21:59.480
Past Perfect dot Com and even though
they are in Great Britain, the

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process disorders literally from all over the
globe. So one more from past Perfect.

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This from their tea Dance album.
How about Jan Savat in his Top

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Hatters with Jersey Bounce It to That
was Jan Savat's Jersey Bounce from Past Perfect

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tea Dance Album. That version of
Jersey Bounce was originally recorded in nineteen forty

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two. Of course, the most
well known recording of the song was by

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Benny Goodman and his Orchestra, where
it sat at number one on the charts

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for four weeks. And I am
now in the mood for let's look at

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my playlist here, when don't we
play some boogie woogie? I have so

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many boogie woogie tunes on the playlist. Some say possibly the greatest of all

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boogie woogie tunes was beat Me Daddy
eight to the Bar. So let's spend

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that one on the virtual turntable.
Oh Daddy into the bar and a little

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Honky Donkey village in textas there is
a guy who plays the best, being

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of my ball. He can play
me and I ain't the way you like

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him. You was the kind he
please. The best is eight to the

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bar. Whenny James is the ball, He's a daddy of them. All

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the people gathered wrong when he gets
on the stand. Then when he plays,

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he gets a hand. The meeting
places. Put the cats in the

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tram, nobody there, Father's dude
dance, and Wendy Chams with the basic

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guitar. They hollow beat me Daddy
head to the bar, A blank a

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blank a blank blank blank blank,
blunking on the kids. A rip a

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rap a rip rap rip rap,
ripping out with ease, and Wendy Chams

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with the basic guitar that hallow beat
Me Daddy Head to the bar. Old

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meet him ready into the barn.
The thing that was beat Me Daddy,

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Ate to the Bar written by Ray
Prince and Shee Hai Will Bradley and his

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Orchestra featuring Ray McKinley on the vocal
and Freddie Slack on the piano, recorded

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on Columbia Records in nineteen forty and
a great story about this tune. I

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think I've told this story on the
radio version of the Ballroom. Anyway,

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the story goes at one night at
the Famous Door. Now, the Famous

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Door was a jazz club on New
York's fifty second Street during the Big band

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era and the height of the jazz
era, New York's fifty second Street was

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lined with clubs, many of those
clubs staying open very late at night as

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band members gathered together from other gigs
that they had played during the night to

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have a drink and enjoy camaraderie with
each other and listen to some great music.

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Well, Ray McKinley, and we
just heard his vocal and beat Me

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Daddy. McKinley also very talented drummer, so he was playing the drums at

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the Famous Door and instead of playing
a two bar break, he simply shouted

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out to the band an audience beat
me Daddy Ate to the bar. So

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songwriters Don Ray, who was one
of the legendary boogie woogie composers, and

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Hughey Prince. They approached McKinley,
telling him that that phrase beat me Daddy

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Ate to the bar would certainly make
a great song title, and that they'd

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cut him in for a third on
authorship if they could use it. Well.

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McKinley thought for a while, and
he agreed, but he had a

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little secret hide. He had to
get around the fact that he had an

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exclusive songwriting contract with a different publisher. So he asked Don Ray if he

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could keep the same terms of the
deal and instead of his name, used

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the name of his wife, Eleanor
Sheehai on the song, and the songwriters

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agreed. But sometime later someone asked
Ray McKinley if he made a lot of

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money from the song, and McKinley
said, his wife Eleanor, well,

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his ex wife Eleanor at this point, with whom he parted ways, ended

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up selling her share, which in
essence was McKinley's share in the song for

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a mink stole. Whether she sold
the rights back to Ray or somebody Else's

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Unknown, a great story about the
song beat Me Daddy, Ate to the

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Bar and Ray McKinley. Now,
Don Ray was one of the most prolific

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writers of boogie woogie tunes. He
also wrote Let's See, He wrote The

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House of Blue Lights, he wrote
having a Little Brain Fog Here, he

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wrote Yeah just for a thrill,
And undoubtedly the most popular boogie of all

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time that he wrote was a boogie
Woogie Bugle Boy. Many people think,

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because Don Ray had captured the market
on boogie woogie, that he was the

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first to actually bring U boogie wogging
into the mainstream, But boogie music was

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alive and well many years prior to
the nineteen forties, and as an example,

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here is Cleo Brown singing a song
aptly named boogie Woogie, recorded back

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in nineteen thirty five random number folks
called boogy Willy. It's a fund a

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little song. Now, when I
tell you to hold it, I don't

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want you to move a thing.
And when I tell you to get it,

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I want you to boogie woogie.
Hold it now we'll begin. When

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I tell you to hold it this
time, I don't want you to move

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a pain. And when I tell
you to get it. I want you

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to mess around or so stunt now, now mess around. I want that

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00:36:37.159 --> 00:36:40.320
girl with the red dress on any
kind of dress will do, to come

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over here and stand by the skin. Now when I tell you to hold

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00:36:45.639 --> 00:36:49.239
it, I don't want you to
move a mussel. Not when I tell

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you to get it, I want
you to shake that thing. Hold it

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00:37:01.039 --> 00:37:47.000
now, shake that thing. Boogie
Woogie sung by and piano played by Cleo

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Brown, the outstanding blues and jazz
vocalist and pianist. I'm Jeff Bresler.

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I am in the crystal studio of
the Make Believe Ballroom in New York,

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00:37:59.239 --> 00:38:04.639
and it's my play to bring you
this week's program and in just a moment,

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recognition of a holiday soon coming up. But first, a quick thank

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you to some of our listeners who
were nice enough to take the time to

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drop me an email and one and
I read one. I'll share this one

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00:38:21.719 --> 00:38:27.920
with you, Jeff. It's your
favorite sister listeners, Lolly and Lorraine Feldstein.

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We just wanted to drop you a
note to let you know we are

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happy you are back on the air. Lolli took her phone to the pool

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and played the podcast during our daily
group lunch at the condo here in Boyton

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Beach, Florida. Keep up the
good work. Good that you are back

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00:38:50.119 --> 00:38:55.400
on the air, Lolly and Lorraine, Well thanks ladies. These two sisters

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who were avid listeners of the Make
Believe Ballroom. They lived on Long Island

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and listen to the show out here
before moving to Florida several years ago.

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And it's great to hear from you. Is it not politically correct? Or

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can I call them girls who cares? Happy to hear from your girls and

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keep on listening. They listened on
the radio as I mentioned, when they

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lived here in New York, and
now are also listening. I would imagine

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00:39:31.760 --> 00:39:37.400
my visual images that they're listening under
a palm tree by the pool in Boyton

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00:39:37.480 --> 00:39:44.000
Beach, Florida. So I said
that I was going to give recognition to

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a holiday which is just around the
corner, and that is the Jewish holiday

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of Passover. Passover, of course, celebrates the story of Moses and the

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story of the Israelites escape from slavery
in Egypt. So on the ballroom today,

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00:40:02.599 --> 00:40:07.840
I want to play some music by
two of the greats of the Big

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band era who incorporated Klezmer music into
some of their arrangements. Now, klesmer

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00:40:16.599 --> 00:40:28.880
was and continues to be traditional Ashkenazi
Jewish music that evolved from Central and Eastern

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Europe. Now, the first tune
is and this is my favorite tunes of

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the incorporation of klezmer into mainstream big
band jazz. And it comes to us

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00:40:44.679 --> 00:40:50.639
from Artie Shaw. Now Arti,
as many of you know, was born

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Jewish and came originally from the Lower
East Side of New York City before moving

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with his family during his youth to
New Haven, Connecticut. I'm sure Artie,

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00:41:04.760 --> 00:41:12.079
then known as author Jacob Arshawski,
heard klesmer tunes of Jewish weddings and

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00:41:12.119 --> 00:41:17.039
events back in his childhood. So
to give you a real taste into Shaw's

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00:41:17.079 --> 00:41:27.079
affinity for this music, his lengthiest
foray into klesmer music can be found on

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an air check of his clarinet and
Tom Tom showpiece that was titled The Chant

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And we're going to listen to that
recording from the CBS Network Melody and Madness

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00:41:39.840 --> 00:41:46.119
radio show of March twelfth, nineteen
thirty nine. In this performance, we

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00:41:46.280 --> 00:41:54.119
hear most of ARTI's classic klezmer licks
placed towards the end of the piece I

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00:41:54.159 --> 00:42:00.400
said, clarinet and tom tom or
drums on the tom toms in this one,

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Buddy Rich the chant our first of
a selection of big band eras songs

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that folded in a taste of Klesmer
and Yiddish music tradition. And now here's

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00:42:15.719 --> 00:42:17.880
a real treat for all you Aretishaw
fans. During the past few months,

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00:42:17.880 --> 00:42:22.400
requests have been piling up for already
to play one of his most famous arrangements.

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00:42:22.639 --> 00:42:24.800
Well, it's on tap for right
now, here's already. Here's clarinet

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and the orchestra and a number that's
guaranteed not only to send you, but

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00:42:29.119 --> 00:48:13.559
to bring you back. It's the
chanting everything again. Mm hm. That

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00:48:13.800 --> 00:48:20.960
was Deep chant Artie Shaw and his
orchestra from the CBS Network Melody at Madness

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00:48:21.079 --> 00:48:25.639
Radio show of March twelfth, nineteen
thirty nine. Before I move on,

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00:48:25.800 --> 00:48:31.679
though, I mentioned that Artie he
must have picked up Klesmer in his youth.

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00:48:32.480 --> 00:48:40.000
I'm sure his mother and father were
well vested as Eastern Europeans of also

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00:48:40.280 --> 00:48:46.079
hearing this music virtually throughout their lives. And I've always wanted to mention on

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the show a little about Artie's mom
and over all the years of doing the

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00:48:52.880 --> 00:48:59.480
ballroom, I don't think I ever
did. Her maiden name was Sarah Strauss,

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00:49:00.360 --> 00:49:06.159
who, in an article I read
several years ago, was remembered by

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00:49:06.280 --> 00:49:14.079
Shaw's sideman as a little spitfire who
tried to buss her son around even after

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he became the big shot Artie Shaw. It's told that she was an avid

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00:49:19.719 --> 00:49:25.199
reader of Downbeat magazine, chain smoked
cigarettes, and had a sharp tongue.

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It was reported by Shaw's bandmates further
that she was a cross between a middle

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00:49:31.079 --> 00:49:37.440
aged hipster and a Jewish mama.
She doated on Artie, spoiled him,

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00:49:37.840 --> 00:49:43.280
fought with him in front of his
band members, and was the source of

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00:49:43.440 --> 00:49:47.760
many of his own personality traits.
Artie, as you know, was known

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00:49:47.800 --> 00:49:53.119
to be temperamental and eccentric, so
who would have thought that his mother would

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00:49:53.159 --> 00:49:58.840
have been basically just the same.
And now we're going to go to one

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00:49:58.880 --> 00:50:04.559
of the most renowned trumpet players of
the big band era, that being Ziggy

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00:50:04.599 --> 00:50:10.599
Ellman. Benny Goodman, I guess
it was in the fall of nineteen thirty

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00:50:10.679 --> 00:50:20.880
eight had Ziggy Ellman playing in his
band, and Ziggy told Benny that he

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would be leaving the band in January
of nineteen thirty nine to start his own

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orchestra. Wanted to give Benny sufficient
notice of his move, so Benny pondered

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00:50:35.280 --> 00:50:40.519
this for a while, and as
a result, his role in the Goodman

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00:50:40.719 --> 00:50:50.719
Band under Benny Goodman's instructions, would
be expanded and as a further inducement to

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00:50:50.880 --> 00:50:55.320
Ziggy to remain with his band for
an extended period of time, Benny actually

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00:50:55.360 --> 00:51:02.360
offered Ziggy a one year recording contract
with the Victor Bluebird label, so Ziggy

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00:51:02.400 --> 00:51:09.480
went to work with Benny's lead alto
saxophonist Nony Bernardi, who was also capable

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00:51:09.519 --> 00:51:14.599
of ranger. As a matter of
fact, he was responsible for the initial

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00:51:15.280 --> 00:51:21.840
arrangement of Tommy Dorsey's theme song Getting
Sentimental Over You, so Nony and Ziggy

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00:51:22.519 --> 00:51:29.480
rolled up their shirt sleeves to create
the music that would be recorded. Ziggy's

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00:51:29.599 --> 00:51:34.800
first recording date for Bluebird was on
December twenty eighth, nineteen thirty eight,

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00:51:35.519 --> 00:51:42.760
and the members of that recording band
the band never existed outside of the recording

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00:51:42.840 --> 00:51:46.960
studio with Ziggy Ellman and his orchestra, but they never played any ballroom or

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00:51:47.079 --> 00:51:53.119
theater gigs. The band was comprised
mostly of a sidemen from the Goodman Band,

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00:51:53.760 --> 00:52:00.840
and Ziggy's recording sessions would be coordinated
with Goodman's session so those band members

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00:52:01.119 --> 00:52:07.800
would be available. One of the
first tunes they recorded was called freylach In

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00:52:08.039 --> 00:52:15.159
Swing, and that song was based
on a nineteen eighteen recording of a Yiddish

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00:52:15.199 --> 00:52:22.119
song written by Abe Schwartz. So
in nineteen thirty nine, when Benny Goodman's

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00:52:22.159 --> 00:52:28.519
popularity was at an all time high, a lot of that was due at

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00:52:28.519 --> 00:52:34.960
the time to his Camel Caravan radio
show. On one of those programs,

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00:52:36.079 --> 00:52:42.280
singer and lyricist Johnny Mercer was featured. We just heard Mercer a few tunes

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00:52:42.320 --> 00:52:47.039
ago, singing personality. As a
part of what Mercer did on the Goodman

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00:52:47.239 --> 00:52:53.519
radio show, he wrote special lyrics
for various songs, and on one show,

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00:52:53.559 --> 00:53:00.000
Benny Goodman challenged Johnny Mercer, who
was known for usually being a fast

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00:53:00.159 --> 00:53:07.079
writer, to write lyrics for Ziggy
Ellman's tune freylach In Swing in one week.

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00:53:07.559 --> 00:53:13.239
So this one actually took Johnny Mercer
two weeks to complete, and he

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00:53:13.840 --> 00:53:19.360
brought the lyric in for the tune
and renamed it and the Angel Sing.

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00:53:20.480 --> 00:53:27.800
Benny had arranger Abe Osser write an
arrangement for the new song to feature Martha

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00:53:28.000 --> 00:53:34.480
Tilton on the first chorus and Ziggy
Ellman's trumpet playing on the second. Well,

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00:53:34.559 --> 00:53:37.800
the rest was history. The recording
quickly became a number one hit.

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00:53:39.199 --> 00:53:45.840
As a matter of fact, it
was Goodman's largest selling record ever on the

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00:53:45.920 --> 00:53:52.199
Victor label. But what is truly
amazing about this is that on the record

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00:53:52.400 --> 00:53:57.519
And the Angel Sing, Benny Goodman
did not play a single note on his

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00:53:57.679 --> 00:54:06.039
clarinet. Listen for Ziggy Elman's klesmer
licks halfway through. I pat halfway through,

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00:54:06.320 --> 00:54:23.400
and the Angel sing we meet,
and the Angel sing st Angel sing

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00:54:23.679 --> 00:54:39.599
the sweetest song I've over heard speed, and the Angel sing for am reading

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00:54:40.079 --> 00:54:52.360
music into every word. Suddenly the
sadding is strange. I can see water

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00:54:52.599 --> 00:55:05.599
and moonlight beaming still away that break
on some under savage. Then suddenly I

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00:55:05.840 --> 00:55:13.039
see it all change, long winter
nights with the candles gleaming through it all

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00:55:13.320 --> 00:55:27.679
your face that I you smile,
and the Angel you'll sing, And it's

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00:55:28.159 --> 00:55:43.840
just a gentle murmur at the star
kids and the Angel sing and leave them

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00:55:44.159 --> 00:57:17.719
music ringing in my and the angels
saying. Benny Goodman and his orchestra trumpet

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00:57:17.719 --> 00:57:22.880
by Ziggi Ellman and vocal by Martha
Tilton, recorded on Victor Records in nineteen

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00:57:23.119 --> 00:57:30.400
thirty nine. Now, the most
memorable Yiddish recording ever to enter the mainstream

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00:57:31.440 --> 00:57:37.199
has to be by Mere Mister Shane, made famous, of course, by

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00:57:37.280 --> 00:57:43.400
the andrew Sisters. The record also
helped make the Andrew Sisters famous, but

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00:57:43.760 --> 00:57:50.480
it was also recorded by Benny Goodman
with Martha Tilton. Let's play the andrew

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00:57:50.559 --> 00:58:07.039
Sisters version. I'm all the boys
I've known, and I've known someome.

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00:58:07.639 --> 00:58:10.440
Until I've first met you, I
was was lonesome. And when you came

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00:58:10.519 --> 00:58:15.519
in sight, dear, my heart
grew ladden. The soul world seem new

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00:58:15.559 --> 00:58:21.159
to me. You really swear.
I have to admit you deserve expressions that

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00:58:21.400 --> 00:58:25.360
really fit you. And so I've
wracked my brain hoping to explain all the

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00:58:25.480 --> 00:58:32.159
things that you do to me.
By me, mister shame, please let

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00:58:32.239 --> 00:58:42.559
me explain, love me, bust
shame means your raid by me, buster

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00:58:42.760 --> 00:58:52.280
shame again, I'll explain. It
means you're the verst in the lad I

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00:58:52.519 --> 00:59:00.719
could say, be the bell shavender
borage language joan. He helps me tell

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00:59:00.840 --> 00:59:08.679
you how brand you are. I
try to explain by me this to shame.

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00:59:09.639 --> 00:59:22.239
So kiss me and say you understand
me this de shamee. You've heard

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00:59:22.280 --> 00:59:25.719
it all before, my love me
try to explain by me and be de

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00:59:27.000 --> 00:59:34.719
shame means that your brain by me, this de shamee is such an overgrain,

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00:59:34.920 --> 00:59:39.440
and yet I s explain it means
I am begging for your hand.

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00:59:39.920 --> 00:59:47.079
Whatever I could say be the bell, life and sad and the by he

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00:59:47.320 --> 01:00:01.199
saying with Johnny helps me tell you
how Brandie was ready, ready, ready,

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01:00:01.559 --> 01:00:35.840
ready, reading I could say bell, the bed, lie and seunderbar.

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01:00:36.000 --> 01:00:43.519
Each language only helps me tell you
how where you are. I've tried

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01:00:43.599 --> 01:00:50.960
to explain by me this disaint soul. Excuse me, I say that you

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01:00:51.000 --> 01:01:00.519
will understand. So thank you one
and all for allowing me to present you

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01:01:00.960 --> 01:01:07.360
a few compositions that featured elements of
Klesmer and Yiddish music. And with that

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01:01:07.519 --> 01:01:14.320
a happy passover to those of our
friends who celebrate the holiday. I hope

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01:01:14.360 --> 01:01:17.679
you enjoyed it. This is Jeff
Bresler. I'm in a Crystal studio in

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01:01:17.719 --> 01:01:22.679
New York bringing you today's edition of
The Make Believe Ballroom. I can be

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01:01:22.719 --> 01:01:28.559
reached at Jeff at MakeBelieve Ballroom Radio
dot com. That's Jeff at Makebelie Ballroomradio

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01:01:28.840 --> 01:01:36.280
dot com. Let's see how about
now let's go to why not play our

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01:01:36.400 --> 01:01:42.159
last selection today from Ralphie's record club
list. I said I'd play three,

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01:01:42.239 --> 01:01:49.039
and this is the third. Let's
spin the virtual wheel and it lands on

359
01:01:50.840 --> 01:01:53.039
not a top fifty, not a
top sixty, but it lands down the

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01:01:53.519 --> 01:02:00.280
charts at two hundred and twenty six. The k Kaiser version of Jingle Jangle

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01:02:00.519 --> 01:02:07.000
Jingle Kay Kaiser and his College of
Musical Knowledge, recorded in nineteen forty two,

362
01:02:09.320 --> 01:02:22.599
Hippi, there will be no one
bells more today because I got spurs

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01:02:22.760 --> 01:02:30.559
that jingle jingle, jingle, jingle
jangle as I go run merrill long ingle

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01:02:30.719 --> 01:02:35.760
jangle, and they sing, oh, ain't you glad your single? Dingle

365
01:02:35.880 --> 01:02:44.000
jangle? In that song it's a
very far from roll angle little bell a

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01:02:44.360 --> 01:02:50.000
little bell level, though I may
have done some fole. And this is

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01:02:50.159 --> 01:02:55.960
why I never know, because I
got spurs that jingle jingle jingle jingle jangle.

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01:02:57.400 --> 01:03:04.840
As I go run merrily along,
they sing, Oh, it's a

369
01:03:04.920 --> 01:03:28.880
glacious single, and that song it's
so very far from raw. I know

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01:03:49.000 --> 01:04:12.960
that Oh got spurs that jingle dragon
stur not jingle jangle jingle run maryll that

371
01:04:13.239 --> 01:04:20.960
a run maryline InChI can I sing
ain't you glass the song? It's a

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01:04:21.400 --> 01:04:33.719
very bad and roll bottom roll Lily
Bell, Lily Bell Boa may have done

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01:04:33.760 --> 01:04:41.280
some fool and this is why I
never want got spurs that jingle drag a

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01:04:41.400 --> 01:04:53.480
spur that jingle jingle run Mary run
maryline inn I sing oh, ain't you

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01:04:53.599 --> 01:04:59.039
glass the song? It's a very
bond and roll. It's so very far

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01:04:59.199 --> 01:05:32.639
from raw. That was kay Kaiser
Jingle Jangle Jingle number two twenty six on

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01:05:32.679 --> 01:05:38.880
the Ralfies Record Club List. And
that's it for today, folks. I

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01:05:38.880 --> 01:05:44.639
hope you enjoyed this extended, more
traditional version of the Make Believe Ballroom.

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01:05:44.639 --> 01:05:47.760
More of the same coming to you
next week. I can be reached at

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01:05:47.840 --> 01:05:54.400
Jeff at mcbelie Ballroom Radio dot com
Jeff at MakeBelieve Ballroom Radio dot com.

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01:05:54.400 --> 01:05:58.880
So until next week, from the
Crystal studio of the Make Believe Ballroom,

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01:05:59.079 --> 01:06:00.679
this has been Jeff Bressler